The Lamb Lies Down On Broadway
by Genesis

The Lamb just keeps getting better and more relevant with age. The most Peter Gabriel driven of any Genesis album, and the last before he left the band because of creative differences. Gabriel’s amazing voice and lyrics work perfectly with the highly melodic and sometimes very heavy progressive rock grooves. Songs flow from one to the next as well as side two of Abbey Road. The atmosphere and texture at times could be mistaken for the best of Radiohead, before you are brought back by the sound of a flute, and you remember this was recorded in 1974.

Gabriel brings a wicked edge to his voice right from the opening title track and into ‘Fly on a Windshield’. Five songs in is the 8+ minute ‘In a Cage’, which rocks as hard as anything ever recorded, with an organ solos thrown in to remind you this is Genesis. Next is ‘Grand Parade of Lifeless Packaging’ which may still be ahead of its time in music and message, followed by ‘Back in N.Y.C.’ another highlight on a double album full of them…it really kicks in at the 1:50 mark. Even quiet interludes like ‘Hairless Hart’ are really good. ‘Counting Out Time’ is a great little pop number that foreshadows what Genesis did so well after Gabriel left, but still has a progressive edge in places. Next, ‘Carpet Crawlers’ has the power to haunt…it’s so hypnotic and layered. ‘Chamber of 32 Doors’ closes side two of disk one with some of my favorite parts of the album at the 1:45 and 4:22 marks.

Lilywhite Lilith starts the second disk beautifully followed by the bazaar and beautiful ‘The Waiting Room’, which if you have the patience for really pays off in a big way at 3:10…out floyding Floyd at their best…(imo only parts of Dogs off of Animals surpass it). Outstanding run of songs continues with ‘Anyway’, and ‘Here Comes the Supernatural Anaesthetist’. ‘The Lamia’ is next, while wordy has become another favorite. ‘Silent Sorrow in Empty Boats’ is next, and could have been made last week by your favorite indie hipster pitchfork darling to be played on late night ambient mix playlists. Next, ‘Colony of Slippermen’ start so weird, has some weird parts, and is responsible for Gabriel’s weirdest stage costume. Nevertheless, it’s also become one of my favorites. ‘Ravine’ – similar vibe to Silent Sorrow in Empty Boats. ‘The Light Lies Down on Broadway’ ties together several musical themes (especially the title track and ‘The Lamia’) into quite a remarkable song…almost a mash-up of the two in places. If there has to be a weakest part to even the best album, it would be the third last song, ‘Riding the Scree’ (unless time simply hasn’t caught up to the genius of the song). The album closes with a nice combo of ‘In the Rapids’ and ‘it’, the later of which is great to scream along too in your best Gabriel voice…..”it is here!…it is now!”

Put on your headphones and give this album a serious attempt.

Without doubt, the band's finest hour. Epic, sprawling, deeply complex and at times, utterly bizarre. When I first got this album, i remember spending hours reading through the sleeve notes of the gatefold album. I am not sure where Gabriel got this from. Side 4 tails off a bit, but the first 3 sides are epic. Fly on a windshield, in the cage, grand parade, lamia, lilywhite lilith and the epic the waiting room. I can't think of an album quite like it. Different from the rest of their output and no-one else has ever attempted anything quite like this

"The Lamb Lies Down on Broadway" is probably Genesis's most exciting release. The long list of numbers of varying length and style makes it an album that you do not easily get an overview of. The story itself (yes, it is a concept album) is not very easy to catch, and personally I was never really caught by it. It's the music, which for me makes thi a special album. Some of the group's most beautiful compositions can be found on this album. As goes for the previous three albums (Nursery Cryme, Foxtrot and Selling England) a lot of experimenting goes one; especially concerning rock song structures. These breaks from predictability make Genesis (with P. Gabriel) one of their era's most interesting bands.

Of course there are also many songs where the melodic and more traditional songwriting is predominant and it is among these the key tracks of the album are to be found. The songs "The Carpet Crawlers," "Cuckoo Cocoon", "The Light Dies Down on Broadway" and "The Lamia" are all well written and performed that they still give a chill down my spine.

The short instrumental "Hair Restless Heart" is a number that contradicts that instrumental tracks are always a little boring. "Lily White Lillith" is arguably some of the best rock the band ever recorded.

Among the more complex numbers "Anyway" and "In the Rapids" are among the favorites. And we must not forget the title-track and the single "Counting Out Time"

Part of music is strongly linked to the context of the album and may hardly work very well outside that context - this applies in particular for some instrumental passages.

Unfortunately, Peter Gabriel left the group after this album, and although ithe commercial success continued, much of the magic disappeared with him.

Here, several decades after, the Genesis' albums with Gabriel still appear relevant and exciting, while most subsequent albums seem time-typical and less interesting than they seemed in their time.

If you haven't see The Lamb live you cannot understand totally his potential. Probably the best Genesis work, progressive rock at his best. Songs like "In the cage", "Carpet crawlers", "Riding the scree", "The cahmber of 32 doors", "Anyway", "The Lamia" and "Fly on the windshiled" are masterpieces that after 40 years are still unreached...

This album didn’t take with me for many years. I was the Selling England By The Pound is a much better album, Genesis has done better person. My college roommates and others were strong supporters of this album and yet I resisted, didn’t own it for years. In hindsight I have no idea why, it has so much to offer - concept album, Hipgnosis artwork, Brian Eno, the original Genesis line-up, etc. all check boxes checked. Over time it has become one of my all time favorite albums, it has surpassed the rest of the Genesis catalogue, they never did anything better before or after. A true masterpiece that I believe many artists strive to achieve. I believe it will stand the test of time which is the real litmus test, just as the Beatles, Pink Floyd, etc. have albums that keep catching on with new generations and continue to be relevant this album is one of them as can be judged by its ranking and popularity on this site. If you don’t own this album you need to, a one of a kind genuine piece of art that has few imitators or comparisons.